Modern Harmony Exercises

INDEX
PROLOGUE
CHAPTER
CHAPTER I: BASIC CONCEPTS
Exercise 1 - Practice
Practice basic
basic musical notation
musical notation
Exercise 2 - Practice
Practice the
the notation with additional
additional lines
Exercise 3 - Major sscales:
cales: structures and alterations
altera tions
Exercise 3a - G maj
majoror scale (example)
Exercise 3b - A maj
majoror scale
Exercise 3c - E majo
majorr scale
Exercise 3d - F majo
majorr scale
Exercise 3e - Bb ma jor scale
Exercise 3f - Eb maj
majoror scale
Exercise 4 - Build k ey
ey signature
Exercise 5 - Identify
Identify the
the key signature
Exercise 6 - Recogn
Recognize
ize the ascending intervals
inte rvals
Exercise 7 - Build th
thee ascending intervals
intervals
Exercise 8 - Recogn
Recognize
ize the enharmonic intervals
Exercise 9 - Recogn
Recognize
ize compound intervals
Exercise 10 - Recog
Recognize
nize and invert the intervals
Exercise 11 - Build descending intervals
Exercise 12 - Name all the intervals
intervals
CHAPTER
CHAPTER II: MAJOR KEY
KEY
Exercise 13 - Triads
Exercise 13a - Build
Build triad
triad chords
Exercise 13b - Triad
Triad chord
chord symbols
Exercise 14 - Build tthe
he diatonic triads in F major
he diatonic triads in D major
he diatonic triads in
in Eb major
he diatonic triads in E major
Exercise 18 - Recog
Recognize
nize the inversions
inversions
Exercise 19 - Identif y the key and tonal function
Exercise 19a
Exercise 19b
Exercise 19c
Exercise 19d
Exercise 19e
Exercise 20 - Analy
Analyzeze the triads progressions
Exercise 20a
Exercise 20b
Exercise 20c
Exercise 21 - Rehar monization:
monization: a tensions map
Exercise 21a - Exam ple 1
Exercise 21b - Exa
Exam m ple 2
Exercise 22 - 7th cchords
hords
Exercise 22a - Build
Build 7th
7th chords
Exercise 22b - Write
Write the
the 7th chord symbols
Exercise 23 - Diaton
Diatonicic 7th chords in A major
Diatonicic 7th chords in G
Diatonicic 7th chords in F
Diatonicic 7th chords in Bb
Exercise 27 - Identif y the key and tonal function
Exercise 27a
Exercise 27b
Exercise 27c
Exercise 27d
Exercise 28 - Identif y the inversions
Exercise 29 - Analy
Analyze ze the 7th chord progressions
Exercise 30 - Reha
Rehar r monization:
monization: a tensions map
Exercise 31 - Find
Find and
and resolve the tritones
Exercise 32 - Complete the II-V movements
Exercise 33 - Chor ds
ds and diatonic tensions
Exercise 33a - D major key
Exercise 33b - Bb major key
Exercise 34 - Find the diatonic tensions
Exercise 35 - Leading the voice lead
Exercise 36 - Keep a pedal note
Exercise 37 - Build the major scale in three steps
Exercise 37a - C major
Exercise 37b - G major
Exercise 37c - E major
Exercise 37d - Db major
Exercise 38 - Harmonic Analysis
Exercise 38a - Example 1
Exercise 38b - Example 2
Exercise 39 - Secondary dominants
Exercise 39a in C
Exercise 39b in A
Exercise 39c in Eb

Exercise 39d in Gb
Exercise 40 - Find secondary dominants
Exercise 41 - Interleave secondary dominants
Exercise 42 - Build chain of dominants
Exercise 43 - Substitute dominants and tritones
Exercise 44 - Descending substitute dominants
Exercise 45 - Add dominants and secondary seconds
Exercise 46 - Double tonal function
Exercise 47- Add and/or substitute chords
Exercise 48 - Diminished 7th chords
Exercise 49- Equivalents Diminished 7th chords
Exercise 50 - Interleave diminished chords
Exercise 51- Major mode harmonic analysis
Exercise 51a
Exercise 51b
CHAPTER III: MINOR KEY

Exercise 52 - Find the minor or major relative keys
Exercise 53 - Parallel scales
Exercise 53a - C
Exercise 53b - A
Exercise 53c - E
Exercise 53d - Bb
Exercise 54 - Build the diatonic chords
Exercise 54a - D natural minor
Exercise 54b - F natural minor
Exercise 55 - Write the harmonic minor scales
Exercise 55a - C harmonic minor
Exercise 55b - E harmonic minor
Exercise 55c - Bb harmonic minor
Exercise 56 - Write the melodic minor scales
Exercise 56a - C melodic minor
Exercise 56b - E melodic minor
Exercise 56c - Bb melodic minor
Exercise 57 - Diatonic chords comparison
Exercise 58 - b9 dominants
Exercise 59 - Write the Blues scales
Exercise 59a - A Blues
Exercise 59b - C Blues
Exercise 59c - E Blues
Exercise 59d - Bb Blues
Exercise 60 - Minor scales step by step
Exercise 60a - A minor
Exercise 60b - C minor
Exercise 60c - E minor
Exercise 61 - Major and minor harmonic analysis
Exercise 61b
Exercise 61c
SOLUTIONS


PUBLISHED BOOKS BY THE AUTHOR

MODERN HARMONY
EXERCISES I
Basic Concepts, Major and Minor Key
Ricky Schneider
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Thank you for respecting the intellectual property rights.

PROLOGUE
Ever since I wrote Modern Harmony Step by Step
Step I
I had in mind to complete
this work with an ex
exercise
ercise b
book.
ook.
Many readers also wrote me as asking
king for it to put into practice all the theory I
advanced in this first publication.
The main need was to practice the concepts in different keys, note
combinations, chords, etc . Also to analyse different chord progressions and
reharmonise them, chord substitution practice, resolutions, etc. Both in
major and minor keys.
In order to achieve these and other goals I have published this first
workbook, where we will approach the practice of the first three chapters
from the theory book:
- Basic Concepts
- Major Key
- Minor key
In the next volume, Modern Harmony
Harmony,, Exercises II, I will
wil l develop more
complex exercises about the implementation of the different scales in
improvisation and composition; plus a de
deeper
eper development
development on the melodies
and songs harmonization and reharmonization.
How to use this book
Because
solve thethis is a workbook it is obvious that you will
exercises. wi ll have to write on it to
For those who do not want to write directly on the book, I have attached a
pdf file that can be download and printed in whole
whole or in part in order to solve
the exercises.
There is always the option of using a standard notebook or a staff notebook
paper to do the work there.
It is important that the exercises do not remain merely on paper, but that you
transfer them to your
your instrument for practice, since the auditory rrecognition
ecognition
of each essential harmonic concept is an essential practice and learning part.
I hope you find a place in this book to boost your musical creativity
creativity..

Best wishes.
exercise pdf file from here.

Download the exercise here.


In this first chapter we will train the

t he essential elements to work with
harmony: notes, intervals, scales structures and its alterations, etc.
It is important not to move forward in this book until all these elements are
clear to you, otherwise you will find it more difficult in the following
chapters.
If you wish, you can download a pdf file from here to
here to work on the exercises.
Exercise 1 - Practice basic musical notation

It is important to know the notes on the staff and its chord symbols in order
to be able to work with the harmonic points.
We will start with a litt
little
le training. Acknowledge the notes in the staff by
writing its name and chord symbols. You You could extend this practice by
reading the notes in any score.
Read all the notes at the same steady tempo as if
i f they were quarter notes,
find a pace that will
will allow you to move forward without stopping. Do not
move fast.
Solution >
Exercise 2 - Practice the notation with additional

lines
- Repeat the exercise above with the notes aside from the staff with
additional lines.

Solution >
Exercise 3 - Major scales: structures and

alterations
- On the basis of a given note, overlap two major tetrachords in order to
build its major scale.
- Mark the tetrachords and the T or ST distance between notes.

- Write the alterations appearing in accordance with the generated distance
by this structures (without key signature).
signature).
Exercise 3a - G major scale (example)
Exercise 3b - A major scale

Exercise 3c - E major scale
Exercise 3d - F major scale
Exercise 3e - Bb major scale
Exercise 3f - Eb major scale
Solution >
Exercise 4 - Build key signature

- Write the key signature according to the key name appearing next to it
it..

Solution >
Exercise 5 - Identify the key signature

- Find the corresponding major key according to the key signature.
Solution >
Exercise 6 - Recognize the ascending intervals

- Name the following ascending intervals.

Solution >
Exercise 7 - Build the ascending intervals

- Add the missing note to create the following ascending intervals.
Solution >
Exercise 8 - Recognize the enharmonic intervals

- Name the following enharmonic intervals.

Solution >
Exercise 9 - Recognize compound intervals

- Name the following compound intervals.
Solution >

Exercise 10 - Recognize and invert the intervals

- Name the following ascending intervals, the
then
n invert and name them.
Solution >
Exercise 11
11 - Build descending intervals
- Build the descending intervals from a given note.
Solution >

- Complete the following chord symbol table.
- You will see it from C in the example, but y
you
ou will be aable
ble to do it from
any note.

Solution >


Virtually all Western music derives from major keys, therefore this will be
the most extensive chapter
chapter..
In order to advance towards other keys, it is necessary to understand and
master major keys harmonic elements. In this chapter we will practice with
all of this elements, both diatonic and non diatonic.
Remember that you can download a pdf fil
filee from here
here to work on the
exercises.
Exercise 13a - Build triad chords

- Build the triad chords from the given notes.
Exercise 13b - Triad chord symbols
Solution >
Exercise 14 - Build the diatonic triads in F major

- Write the key signature.
- Build the triad on each note and write the chord symbols.

- Check that they match with: I - II m - III m - IV - V - VI m - VIIº
Solution >
Exercise 15 - Build the diatonic triads in D major

- Repeat the previous exercise in D
Solution >
Exercise 16 - Build the diatonic triads in Eb major

- Repeat the previous exercise in Eb
Solution >
Exercise 17 - Build the diatonic triads in E major

- Repeat the previous exercise in E

Solution >
Exercise 18 - Recognize the inversions

- Write the chord symbols in the following inversions.
Solution >
Exercise 19 - Identify the key and tonal function

The chords combination in the following examples can only happen in a
major key.
- Write the key.
- The degree of each chord.
- Its tonal function.

Consider that they are only progression fragments which aim is to train
you in recognizing the chords relationship according
according to their key and
types.
Exercise 19a
Exercise 19b
Exercise 19c
Exercise 19d
Exercise 19e

Solution >
So far we have done the exer

exercises
cises in an isolated way to be able to recognize
recognize
the basic elements used in harmony.
As we incorporate new elements we will interleave chords
chords progr
progression
ession and
cadences wher
wheree we will implement and analyze the examples
examples as a way of
arrangement, harmonization and rehar
reharmonization.
monization.
By doing so exercising
exercising will be taking a practical character that will help you
apply harmony in your compositions and interpre
interpretations,
tations, either playing
alone or in group.
Exercise 20 - Analyze the triads progr

progressions
essions
- Recognize: the key, each chord degree and its tonal function in the
following progressions.
Exercise 20a
Exercise 20b

Exercise 20c
Solution >
Exercise 21 - Reharmonization: a tensions map

- Based on the example 20a from the previous exercise, replace some chords
by repeating the same tensions map.
- There will be several possibilities.
- Tension map: T - T - SD - D

Solution >
Exercise 22 - 7th chords
Exercise 22a - Build 7th chords

- Build the 7th chords from a given note.
Exercise 22b - Write the 7th chord symbols
Solution >
Exercise 23 - Diatonic 7th chords in A major

- Build the 7th chord on each note.
- Write the chord symbols.

- Check they match with: Imaj7 - IIm7 - IIIm7 - IVmaj7 - V7 -

VIm7 - VIIm7b5
Solution >
Exercise 24 - Diatonic 7th chords in G

- Repeat the previous exercise in G major.
Solution >
Exercise 25 - Diatonic 7th chords in F

- Repeat the previous exercise in F major.
Solution >
Exercise 26 - Diatonic 7th chords in Bb

- Repeat the previous exercise in Bb major.
Solution >

- Just like we have done with triads in exercise 19, the following chords
progression can only exist in an specific
specific key.
key.
- Write the key.
- The degree in each chord and its tonal function.
Exercise 27a
Exercise 27b
Exercise 27c

Exercise 27d
Solution >
Exercise 28 - Identify the inversions

Recognize and write the chord symbols.
- When the 7th is the bass (lowest note) usually the rest of the chord symbol
is written as a triad (third inversion).
- A trick to identify the inversions in 7th chords is to look for the conjoint
degrees and identify them as 7th (major or minor) and fundamental.
Solution >

Exercise 29 - Analyze the 7th chord progressions

progressions
- In the following chord progressions recognize:
- The key (add the

t he key signature).
- Each chord degree.
- Its tonal function.
Solution >

- In the same example from the previous exercise, replace some chords by
repeating the same tensions map.
- There will be different possibilities.
- Tensions map: T - SD - D - T - SD - T - SD - D

Solution >
Exercise 31 - Find and resolve the tritones

- Find the dominant and its tritones and resolve it.
Solution >

- Complete the missing chords in the following II-V-I movements..

Solution >
Exercise 33 - Chords and diatonic tensions

Write in the following examples:
- Key signature.
- Its diatonic 7th chords.
- The available and unavailable tensions (in the chord symbol).
Write the unavailable tensions in the first octave preceded by a minor d
(diatonic), the available ones in the second octave.

Solution >

- In the following chords, write their diatonic tensions in the score and in the
chord symbols according to their degree (in brackets).
Solution >

- In the following progression lead the 1st voice by ascending or descending
conjoint degrees.
- You
You may use available tensions or any other chord notes.
- You will find different options.

Solution >

- In the previous same progression keep a pedal note in the voice lead.
- You
You may use available tensions or any other chord notes.
- You will also find different options.

Solution >

Build the following major scales in these three steps:
1- Major triad
2- Major pentatonic
3- Major scale
- Indicate the adding notes, the scale formula and the tritone.
- Do not use key signature, write the alterations when corresponding.


Exercise 37d - Db major
Before we proceed with the next point, where we will see non diatonic
chords, we will do some exercises summarizing what we have seen aboabout
ut
diatonic chords so far.
Solution >
Exercise 38 - Harmonic Analysis


- Recognize the chords according to their degree and type.
- Indicate the dominant chords with an arrow and the II - V with square
brackets.
Solution >


- Write all the secondary dominants (chord symbols) in the following keys:
Exercise 39a in C
V7 / II = A7
V7 / III =
V7 / IV =
V7 / V=
V7 / VI =
Exercise 39b in A
V7 / II =
V7 / III =
V7 / IV =
V7 / V=
V7 / VI =
Exercise 39c in Eb
V7 / II =
V7 / II =
V7 / III =
V7 / IV =
V7 / V=

V7 / VI =
Exercise 39d in Gb
V7 / II =
V7 / III =
V7 / IV =
V7 / V=
V7 / VI =
Solution >

- Complete the missing chords.
Solution >


- Interleave some secondary dominants in the following progression to get to
the diatonic chords.
Solution >

- Add chains of dominants to get to a diatonic chord.
- You
You will be able to substitute an existing chord to interleave a chain in its
place.

Solution >

- Find the substitute dominants and resolve their tritones.
- Conduct always the fundamentals jumping a ascending perfect 4th
(attention with the enharmonic).
Solution >

- Repeat the previous exercise but solving the substitutes by descending
semitone.
- Put the resolution with dotted or continuous line accordingly.
accordingly.

Solution >
Exercise 45 - Add dominants and secondary

seconds
Basic Progression

- You
You may substitute an existing chord to interleave others in its place.
Exercise
- In this exercise, as in others, I have indicated the harmonic analysis to
complete the added or replaced chords, but you can find other options.
Practice them.
Solution >

- Indicate the chords with double tonal function in the previous exercise
progression, they could be seen
seen as secondary sec
second
ond or as diatonic chords.
Solution >

- In this exercise we will work with a simple progression where we will
apply different elements we have been working with.
- We
We can have many possibilities, here we can see two.

- You
You can apply them in songs you are familiar with where you would like to
make more attractive arrangements.
- It is very useful to apply these arrangements on very simple songs, as
children songs, Pop, etc. Changing the style to Bossa, JaJazz,
zz, Blues, etc.
Basic Progression

Solution >

- Build the following diminished 7th chords.

Solution >

- Write the diminished 7th chords formed by the
t he same notes as the example
(play with the enharmonics).
Solution >

- Interleave different kinds of diminished chords: ascending, descending or
auxiliaries, with or without dominant function. Complete the progression
with the indicated chords in the analysis.

Solution >

- Analyze the following progressions:
- Put the arrows, square brackets and diatonic degree in each chord.
- Indicate secondary dominants, passing diminished chords, etc.
Exercise 51a
Exercise 51b

Solution >


The minor key feeds basically of three scales: natural minor or Aeolian
mode, harmonic minor and melodic minor
minor.. The first one of them is relative
to the major scale or Ionian mode.
There fore, at the risk of being re
repetitive
petitive I highly recommen
recommend d you to be
absolutely certain to master
master the exercises in the previous chapters before
before
you move on to this new one.
Solution >

- Write the following major and natural minor scales from the same tonic.
- Specify the two scales formula.
- Indicate the different notes.
- Use accidental alterations, not key signature.
Exercise 53a - C

Exercise 53b - A
Exercise 53c - E
Exercise 53d - Bb

Solution >

- Write the diatonic 7th chords by degrees.
- Add the chord symbols.
- Add its tonal function.
- Use the relative major key signature.
Solution >


- Indicate the different note regarding the natural minor
mi nor scale.
- Write the scale formula.

- Indicate the interval of a tone and a half between bVI and VII.
- Write in the second score the diatonic 7th chords by degree. The V with
b9 .
- Add the chords symbols.
- Add its tonal function.
- Use the relative major key signature.
- Indicate the chords that change regarding the natural minor scale.
Exercise 55b - E harmonic minor

Exercise 55c - Bb harmonic minor
Solution >

- Repeat the above exercise with the melodic minor scale in the same keys.
- Do not use key signature.


Solution >

- Complete the following chords table by degrees.
Solution >
- Complete the following resolutions with b9 dominants.
- Resolve by semitone the three tritone notes.

Solution >

- Write the following Blues scales.
- Write the scale formula.
- Indicate the Blue note.

Solution >

Build the following minor scales in this three
t hree steps:
- Minor triad.
- Pentatonic minor (indicate the added notes: 11 y 7).
- Natural minor scale.

- Harmonic minor scale.
- Melodic minor scale.
- Do not use key signature, write the alterations where applicable.
- Indicate the notes you add and the notes that difference the scales from
each other.



Solution >

- Do the harmonic analysis by indicating the symbols and kinds of chords.
- Indicate from which minor scale the chords originate.
- Indicate the double function chords.
- The triad in the 1st degree can originate from different minor scales, write
only “triad“.
- Some chords can originate from different minor scales. In this case we will
use by default
default the natural minor sca
scale,
le, although it will be interesting to
try all the options in practice, both in the composition and improvisation.
- Other chords can work as a pivot between a major and a minor key.
key. This
chords could
could be analyzed from both keys.
Exercise 61a

Exercise 61b
Exercise 61c
Solution >

SOLUTIONS


Exercise 1
Exercise 2
Exercise 3a
Exercise 3b
Exercise 3c

Exercise 3d
Exercise 3e
Exercise 3f
Exercise 4

Exercise 5
Exercise 6

Exercise 7
Exercise 8
Exercise 9

Exercise 10
Exercise 11

Exercise 12

Exercise 13a
Exercise 13b

Exercise 14
Exercise 15
Exercise 16
Exercise 17

Exercise 18
Exercise 19a
In this example we can see two minor chords by conjoint degrees

(consecutive notes from the same scale).
The previous situation only happens in II and III degrees.
Therefore:

If D is II and E is III, C is I.

Consequently C major is the key.
Dm is II degree.
Em is III degree.
Exercise 19b
In this example we can see two major chords by conjoint degrees, only
happens in IV and V degrees.
Therefore if G is IV and A is V, D is I.
Exercise 19c
In this example we can see a chord that can only be VII. Consequently if E
is VII, F is I.
Exercise 19d

In this example we can see a major and a minor chord by conjoint degrees,
they could be I - IV or V - VI.
The major chord in the following bar leave as only one possibility: V - VI -
IV.
Exercise 19e
In this example we can see two major chords at a distance of 4th ascending
(or 5th descending).
There are two possibilities: I - IV or V - I.
In this case the chord in the strong bar (1, 3, 5, etc.) will have more harmonic
weight and therefore it will sound as I.
Exercise 20a
Exercise 20b

Exercise 20c
Exercise 21a
Exercise 21b
Exercise 22a
Exercise 22b

Exercise 23
Exercise 24
Exercise 25
Exercise 26

Exercise 27a
In this example
semitone wea can
towards m7,see a maj7
they could chord descending
only be IV and IIIchromatically
. If Cmaj7 is by
IV and
Bm7 is III, G is I.
Exercise 27b
A m7b5 chord can only be a VII degree, consequently G is I.
Exercise 27c

A 7th chord can only be a V degree (dominant) consequently Gb is I.
Exercise 27d
In this example we can see two minor chords which according to the gap
between them, could be:
II and VI (C major key) or VI and III (F major key).
The Bbmaj7 chord defines that is F major key.
If we like to look at it as a Bb major key, the A chord will have to be m7b5.
Exercise 28

Exercise 29
Exercise 30
Exercise 31

Exercise 32

Exercise 33a
Exercise 33b

Exercise 34

Exercise 35
Exercise 36

Exercise 37a
Exercise 37b

Exercise 37c

Exercise 37d
Exercise 38a

Exercise 38b
Exercise 39a
V7 / II = A7
V7 / III = B7
V7 / IV = C7
V7 / V= D7
V7 / VI = E7
Exercise 39b
V7 / II = F#7

V7 / III = G#7
V7 / IV = A7
V7 / V= B7
V7 / VI = C#7
Exercise 39c
V7 / II = C7
V7 / III = D7
V7 / IV = Eb7
V7 / V= F7
V7 / VI = G7
Exercise 39d
V7 / II = Eb7
V7 / III = F7
V7 / IV = Gb7
V7 / V= Ab7
V7 / VI = Bb7
Exercise 40

Exercise 41
This is only one possibility,

possibility, you can try others.
Exercise 42

This is only one possibility,

possibility, you can try others.
Exercise 43
Exercise 44

Exercise 45
Exercise 46

Exercise 47a
- Firstly I have turned all the triad chords in 7th chord.

- In the second bar I have replaced C for Am7 (same tonal function: T).
- In the forth bar I have added E7 as a Am secondary dominant: V/VI.
- I have replace Am for A7 using it to start a chain of dominants that will
take me to G7 (V7).
- I have put each secondary dominant function in brackets, but normally is
not indicated in the harmonic analysis.
Exercise 47b

I have interleaved dominant chords in the same progression as the previous
exercise:
- In the first bar from the first line E7 is the Am7 secondary dominant
(V7/VI).
- In the next bar D7 is G7 secondary dominant (V7/V).
- In the four bar Bb7 is E7 dominant substitute.
- In the second line each dominant chord is followed by its substitute.
- This way we can hear a «turn around» effect similar to the Jazz-Blues
style.
Exercise 48
Exercise 49

Exercise 50
Exercise 51a

Exercise 51b
Exercise 52

Exercise 53a
Exercise 53b
Exercise 53c

Exercise 53d
Exercise 54a
Exercise 54b

Exercise 55a
Exercise 55b

Exercise 55c
Exercise 56a

Exercise 56b
Exercise 56c

Exercise 57
Exercise 58

Exercise 59a
Exercise 59b
Exercise 59c
Exercise 59d
Exercise 60a

Exercise 60b

Exercise 60c

Exercise 61a
As we have seen, V7 dominants in minor keys, may originate from the
harmonic or melodic minor scales. b9 clearly defines them as originating
from the harmonic minor scale.
IIm7b5 may originate from the
t he harmonic or natural scale. We will decide it
according to the sound we are looking for, keeping in mind that the
harmonic sound will give an Arabic or Flamenco “color”.

Exercise 61b
Exercise 61c

Thank you!
Thank you for the time you have invested to read ‘Modern Harmony, EXERCISES I’ . If you have
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VISIT
http://cgo-music-books.com
Readers of my books will have access to
Free Harmony and Improvisation lessons

lessons
Your opinion matters, send me any douts or suggestions and consultations at:
info@cgo-music-books.com

MODERN HARMONY STEP BY STEP

STEP is a book devoted to the
study and understanding of modern harmony and its different musical styles,
including Jazz, Blues, Rock, Funk, Pop among others.
All topics are oriented to improvisation, composition, arrangements and the
analysis of this styles.
This book is divided into five chapters which are organized to help you
progress step by step, as if you were
were taking a course.
Hundreds of examples illustrate the different concepts explained in each
section, providing a practical way to bring theory to your musical
instrument.
non
Major and minor scales - Modals and artificial scales - Diatonic and non
diatonic chords, your tensions and your scales - Composition tools,
Modern music analysis - Improvisation, and more.
more.
Available in both printed and ebook format in Amazon

Modern Harmony, EXERCISES I This first exercise book is based on the

first three chapters of Modern Harmony Step by Step: Basic concepts, Major
key and Minor key.
You can practice in different keys and chords progressions all the modern
harmony concepts:
Intervals, major and minor scales, its alterations; triads and 7th chords,
tonal functions, secondary dominants, chain of dominants, substitute
dominants, harmonic analysis, themes and melodies reharmonization,
etc.
Ever since I wrote Modern Harmony Step by Step I had in mind to complete
this work with an exercise book. Many readers also wrote me asking for it to
put into practice all the theory I advanced in this first
first publication.
The main need was to practice the concepts in different keys, note
combinations, chords, etc . Also to analyze different chord progressions and
reharmonize them, chord substitution practice, resolutions, etc.

Modern Harmony, EXERCISES II In this second harmony exercise

book we will transit the path that will lead as from calculation to creativity,
creativity,
both composing or arranging music,
music, searching scales in order to compose or
improvise melodic lines, and interchange harmonies to comping them.
You can practice in different keys and progressions:
minor modes, Diminished,
Scales: modals, relative to the minor
Mixolydians with
their alterations, Harmonics, etc.
Harmonic and melodic analysis,
analysis, modal harmony,
harmony, hybrid chords,
modulation, modal interchange and reharmonization.
Analyzing themes or creating your own cadences

cadences and progressions
to apply these points.

HOW TO IMPROVISE IN MODERN MUSIC is a book oriented

towards learning and practice of musically improvising on any instrument in
every style of modern music: Jazz, Blues, Rock, etc.
The examples and exercises in this book are accompanied by 44 tracks in
mp3 format which will help you understand every concept and transfer it to
your instrument.
Application of these tools for the development of phrases and solos are
grouped in 5 chapters where we shall work on the elements indispensable for
a creative musical development.
In each chapter, information will be ordered by degree of difficulty
difficulty,,
accompanied by theoretical concepts which will help you understand their
application.
IMPROVISATION: To play or to study? Creativity. How to use this book?
The “Diary of practices.”
FORM: Recognizing the parts of the themes.
EAR : Recognizing notes, scales and chords.
RHYTHM: Phrasing beyond scales employed.
NOTES AND SCALES: Different scales and the tensions they generate on
the chords.
CADENCES: Melodic lines chords.The solo.

You may work, independently, on those points you may consider necessary
to develop from any level, creating your own diary of practices: Scales
(pentatonic, modal, Mixolydian, artificial, chromatic, etc.), arpeggios and
their combinations, tensions and resolutions, guide notes, target tones,
modulation, Swing, Blues, Turnar
Turnarounds,
ounds, “The Solo” and its guidelines,
etc.

Table of Contents
PROLOGUE
Exercise 1 - Practice basic musical notation
Exercise 2 - Practice the notation with additional lines
Exercise 3 - Major scales: structures and alterations
Exercise 3a - G major scale (example)
Exercise 3b - A major scale
Exercise 3c - E major scale
Exercise 3d - F major scale
Exercise 3e - Bb major scale
Exercise 3f - Eb major scale
Exercise 4 - Build key signature

Exercise 5 - Identify the key signature
Exercise 6 - Recognize the ascending intervals
Exercise 7 - Build the ascending intervals
Exercise 8 - Recognize the enharmonic intervals
Exercise 9 - Recognize compound intervals
Exercise 10 - Recognize and invert thet he intervals
Exercise 11 - Build descending intervals
i ntervals
Exercise 13a - Build triad chords
Exercise 13b - Triad chord symbols
Exercise 14 - Build the diatonic triads in F major
Exercise 15 - Build the diatonic triads in D major
Exercise 16 - Build the diatonic triads in Eb major
Exercise 17 - Build the diatonic triads in E major
Exercise 18 - Recognize the inversions
Exercise 19a
Exercise 19b
Exercise 19c
Exercise 19d

Exercise 19e
Exercise 20 - Analyze the triads
t riads progressions
Exercise 20a
Exercise 20b
Exercise 20c
Exercise 22 - 7th chords
Exercise 22a - Build 7th chords
Exercise 22b - Write the 7th chord symbols
Exercise 23 - Diatonic 7th chords in A major
Exercise 24 - Diatonic 7th chords in G
Exercise 25 - Diatonic 7th chords in F
Exercise 26 - Diatonic 7th chords in Bb
Exercise 27a
Exercise 27b
Exercise 27c
Exercise 27d
Exercise 28 - Identify the inversions
i nversions
Exercise 29 - Analyze the 7th
7t h chord progressions
Exercise 31 - Find and resolve the tritones
Exercise 33 - Chords and diatonic tensions
Exercise 37d- -Harmonic

Exercise 38 Db major Analysis


Exercise 39a in C
Exercise 39b in A
Exercise 39c in Eb
Exercise 39d in Gb
Exercise 45 - Add dominants and secondary seconds
Exercise 51a
Exercise 51b
Exercise 53a - C
Exercise 53b - A
Exercise 53c - E
Exercise 53d - Bb
Exercise 55b -- Bb
Exercise 55c E harmonic
harmonicminor
minor


Exercise 61b
Exercise 61c
SOLUTIONS

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CHAPTER III: MINOR KEY

PUBLISHED BOOKS BY THE AUTHOR

Readers of my books will have access to

Free Harmony and Imp

This book is registered in the “Intellectual property registry” throughout the

How to use this book

exercise pdf file from here.

CHAPTER I: BASIC CONCEPTS

In this first chapter we will train the

Exercise 1 - Practice basic musical notation

Exercise 2 - Practice the notation with additional

Exercise 3 - Major scales: structures and

- Mark the tetrachords and the T or ST distance between notes.

Exercise 3a - G major scale (example)

Exercise 3b - A major scale

Exercise 3c - E major scale

Exercise 3d - F major scale

Exercise 3e - Bb major scale

Exercise 3f - Eb major scale

Exercise 4 - Build key signature

Exercise 5 - Identify the key signature

Exercise 6 - Recognize the ascending intervals

Exercise 7 - Build the ascending intervals

Exercise 8 - Recognize the enharmonic intervals

Exercise 9 - Recognize compound intervals

Exercise 10 - Recognize and invert the intervals

Exercise 12 - Name all the intervals

CHAPTER II: MAJOR KEY

Exercise 13a - Build triad chords

Exercise 13b - Triad chord symbols

Exercise 14 - Build the diatonic triads in F major

- Check that they match with: I - II m - III m - IV - V - VI m - VIIº

Exercise 15 - Build the diatonic triads in D major

Exercise 16 - Build the diatonic triads in Eb major

Exercise 17 - Build the diatonic triads in E major

Exercise 18 - Recognize the inversions

Exercise 19 - Identify the key and tonal function

So far we have done the exer

Exercise 20 - Analyze the triads progr

Exercise 21 - Reharmonization: a tensions map

Exercise 21a - Example 1

Exercise 21b - Example 2

Exercise 22 - 7th chords

Exercise 22a - Build 7th chords

Exercise 22b - Write the 7th chord symbols

Exercise 23 - Diatonic 7th chords in A major

- Check they match with: Imaj7 - IIm7 - IIIm7 - IVmaj7 - V7 -

Exercise 24 - Diatonic 7th chords in G

Exercise 25 - Diatonic 7th chords in F

Exercise 26 - Diatonic 7th chords in Bb

- Repeat the previous exercise in Bb major.

Exercise 27 - Identify the key and tonal function

- The degree in each chord and its tonal function.

Exercise 28 - Identify the inversions

Exercise 29 - Analyze the 7th chord progressions

- The key (add the

Exercise 30 - Reharmonization: a tensions map

Exercise 31 - Find and resolve the tritones

Exercise 32 - Complete the II-V movements

Exercise 33 - Chords and diatonic tensions

Exercise 33a - D major key

Exercise 33b - Bb major key

Exercise 34 - Find the diatonic tensions